natepatrin said: What (if anything) is wrong with music criticism today, and what do you propose to fix it?
The problem is that music writing is largely a politics-based forum, and the most agreeable writers get the best jobs instead of the best writers. It’s not nearly as much about talent as it is being among the right people.
Most of the best writers I know (in music journalism and elsewhere) are mercurial, erratic, and have pretty esoteric taste. They’re ones who swim against the grain as far as popular opinion, and the artists they respect the most are ones who swim against the grain, most of those artists not having a chance to become popular unless by some cosmic fluke.
Publications are too worried about page views and advertising than they are brilliant content and dynamic artists. In the age of the Internet, the cream rises to the top, but so does everything else. It’s harder to pick out the writers and artists with real talent, and when there are a few, they constantly get put on the shelf in favor of the writers who consistently provide content in tune with whatever publication they’re writing for. Nobody’s taking risks anymore, and that’s a huge problem.
People need to take more risks. In music criticism. In music itself. In art in general. In life in general.
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- jewlesthemagnificent said: IMHO, most people truly gifted in any creative way, writing included, are rarely super-easy to get along with. They are passionate and opinionated and often perfectionistic. People who manage creative folks who don’t get that, will never succeed.
- jakec said: that first graf is the most concise way i’ve seen it put. we gotta move away from advertisers but in doing so we also need to advocate writing that is more entertaining to appeal to a subscriber base.
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